MidPoint News and Updates: Are you ready for some MidPoint! The MPMF.12 kick-off celebration takes place TONIGHT. The pre-party is in The Hanke Building on Main Street in Over-the-Rhine. Entrance is down Michael Bany Way, just across from the 12th and Main streets intersection. The party starts at 6 p.m. with a set of “MPMF mash-ups” by local DJ Ice Cold Tony. Always amazing local rockers 500 Miles to Memphis perform at 9 p.m. The kick-off shindig is free and open to everyone of drinking age (even if you think MPMF is “killing teh scene!”). There will also be free Vitaminwater and Eli’s BBQ; one lucky attendee will also go home with free VIP tickets to see The Afghan Whigs’ New Year’s Eve concert at Bogart’s.
Here's an early classic from 500 Miles to get your psyched:
The MidPoint Music Festival countdown is down to just one day. Yup, starts tomorrow. Here are our daily MidPoint Music Festival 2012 picks …
Chain and The Gang (Washington, DC)
Dinosaur Jr. (playing Friday on the Grammer's/Dewey's Pizza stage) isn’t the only MPMF band that was influencing today’s music-makers beginning in the ’80s. Ian Svenonius made his name with influential DC bands Nation of Ulysses and The Make-Up, wiry Punk Gospel group that he led with the possessed, wild-eyed intensity of a Southern Baptist preacher gene spliced with James Brown and Iggy Pop. His presentation of the “Gospel Yeh-Yeh” in clubs worldwide proved his reputation as one of Indie Rock’s greatest frontmen, night in and night out. Svenonius’ religious experience may never die; whenever a project ends, he simply finds new parishioners to help him spread the gospel and carry on.
You'll Dig It If You Dig: Nation of Ulysses, The Make-Up, Weird War. (Mike Breen)
Chain and the Gang performs Saturday at midnight at MOTR Pub. Here's a video for the band's "Certain Kinds of Trash":
The Ridges (Athens, OH)
Orchestral Indie Folk
This Athens, Ohio-based Orchestral Indie Folk troupe has built a solid following in Cincinnati thanks to repeated show dates in town, including providing highlights at a few past MidPoint Music Festivals. So they're not exactly a "sleeper" (because I've seen them and they're great), not exactly a "Local Lock" (though their ties to Cincinnati run deep) and merely on the verge of being Big Shots. Regardless, you won't be disappointed should you add them to your MPMF.12 itinerary. The Ridges — who perform in different configurations, depending on which members are available (including string and horn players) — are currently prepping a full-length album (recorded here in Cincinnati), so fans may even get a few new songs
Dig: Soulful, acoustic Folk Rock that builds into emotive orchestral swells. (MB)
The Ridges perform at Know Theatre on the Biore Strip at 10:30 p.m. Thursday. Here's a special video the band made just for the occasion, shot on a rooftop in OTR:
LOCAL LOCK PICK
The Grey Academy (Cincinnati, OH)
Cincy singer/songwriter Josh Hill first came to attention with his band Ellison, which introduced the region to a songwriter with impeccable chops for someone so fresh to the local music scene. The band’s wonderfully crafted Pop/Rock started earning Hill attention both locally and beyond, but in the midst of it all, the songwriter began writing different, darker songs that reflected his changing listening habits, which veered into the still catchy yet less calculated sounds of bands like Bloc Party, Interpol and The Killers. Hill has shown that his skills weren’t limited to Ellison’s instantly hooky style; with The Grey Academy, he brings the same sensibilities to a less predictable, more moody brand of Rock.
Dig: Interpol, Smashing Pumpkins, Death Cab for Cutie. (MB)
The Grey Academy plays MidPoint Saturday, 8 p.m. at Main Event. Check out the band's "In Stride":
Click here for full MPMF details via the official MidPoint site.
The Mayhem Festival takes over Riverbend July 20 and CityBeat will be featuring bands throughout the week leading up to the festival. Trivium is one of the groups playing this year, represent the new school of Metal at its best. The band, out of Orlando, is signed with Roadrunner Records and its fifth studio album, In Waves, is expected to be released in August.
Happy Memorial Day! The popular annual food-fest Taste of Cincinnati ends today (Monday), your last chance to hear some solid local music and eat some excellent local grub (at least until the next downtown street event). Today’s musical offerings kick off on a bittersweet note. At 1 p.m., the Katie Reider Spirit of Music Award will be given posthumously to longtime local bassist and music scene presence Chris Walker, who passed away last year after battling injuries sustained in a serious car accident in 2007.
That's a fair but lacking description of the festival, but
only because the programming isn't bounded by much other than the
desire to explore. MusicNOW has showcased numerous flavors of World
music, often new avant Chamber/Classical works, a "who's who" of the top
names in "Indie" music (Sufjan Stevens, St. Vincent, The National, Bon
Iver, Andrew Bird, Grizzly Bear), a few legends (Philip Glass, Kronos
Quartet) and newer and/or more obscure artists, meshing together to
offer Cincinnati music fans (and the many who come in from out of town) a
truly unique musical experience. Sold out audiences have seen
one-off performances and collaborations, including commissioned
works and world premieres.
Below is a sampling of some of the artists featured this weekend — though with MusicNOW's encouragement of experimentalism, take it as merely a surface introduction. The artists will more likely go beyond any pigeonhole you can come up with, which is the best thing about MusicNOW.
• Tonight's kick-off is headlined by Anti- recording artists Tinariwen, a Malian ensemble whose creative North African sounds resulted in a Grammy in 2012 for its fifth album, Tassili. Read CityBeat's interview with Tinariwen founder Ibrahim Ag Alhabib (via translated email exchange) here.
Here's the official video for Tassili track "Iswegh Attay" (with translation!):
• Arcade Fire member Richard Reed Parry has been a part of several MusicNOW festivals, composing commissioned works and playing with bands like Little Scream and Bell Orchestre. This year, Reed Parry will perform the songs of his Indie Folk project, Quiet River of Dust. The project made it's live debut at the National-curated All Tomorrow's Parties fest in the U.K. late last year (where Reed Parry performed three very different sets) and a recording is presently in the works. A review from the music blog Let's Get Cynical described it as "a quirky and engaging performance – the first song I hear is about a boy who gets lost at sea and turns into a fish, if you want some sort of indication of what we’re working with. The fact that this is the trio’s first ever show also highlights ATP as the kind of festival where you get to see things you don’t get anywhere else." Kinda like MusicNOW.
• Rounding out tonight's opener is Buse and Gase, the Brooklyn duo of Arone Dyer and Aron Sanchez, who make trippy avant grade music on various handmade instruments. The group name actually comes from two of those instruments — the "buke" is described as a "six-string baritone ukulele" and the "gase" is a guitar/bass guitar combo.
Here's Buse and Gase's official clip for the tune "General Dome."
• Saturday's headliner is MusicNOW 2013's most known performer, Glen Hansard. The Irish singer/songwriter began catching attention as a member of the group The Frames, then broke out on his own and won an Academy Award for "Best Original Song" in 2008 for "Falling Slowly" from the film Once, in which he also starred. Hansard's first solo album, Rhythm and Repose, was released last summer on the Anti- label (album bonus track "Come Away to the Water" was, oddly enough, covered by Maroon 5 and Rozzi Crane on the soundtrack to the blockbuster film The Hunger Games).
Here's the video for "High Hope" off of Hansard's solo debut.
• Saturday will also feature the performance of new works composed by Dessner, Reed Parry and Serbian composer Aleksanda Vreblov. The new pieces will be performed by the Brooklyn Youth Chorus, which has collaborated with everyone from the New York Philharmonic and Cincinnati native (and Jazz piano master) Fred Hersch to Lou Reed, Barbara Streisand and Talib Kweli. The organization works often with composers on new pieces.
Here's a clip of Dessner working with the Chorus on the piece "Tell the Way" in 2011.
The Chorus will be joined by young string ensemble The Ariel Quartet, which formed in Israel and moved to the States in 2004. Last year, the group was named "quartet-in-residence" at the University of Cincinnati’s College-Conservatory of Music. The quartet has won numerous international awards for its work and has performed all over the world. Also lending a hand with the new works is Shara Worden of MusicNOW vets My Brightest Diamond.
Below is a clip of the Ariel Quartet performing Mozart.
• Last year, music now featured pioneering composer Philip Glass. This year, Steve Reich plays the role of "legend" on the bill. The Guardian's Andrew Clements once wrote that "There's just a handful of living composers who can legitimately claim to have altered the direction of musical history. Steve Reich is one of them," while many others consider Reich one of the world's greatest living composers. Reich's experiments have been fearless and creatively fruitful and influential, be it his early work with tape loops or his interactive "Clapping Music," a 1972 piece performed entirely with handclaps.
Reich will join Sō Percussion for a performance of that piece and more, including a new commission from Daníel Bjarnason (the annual Esme Kenney Commission, named for a young student from School for Creative and Performing Arts student who was murdered in 2009). The Brooklyn-based modern percussion group (featuring Eric Beach, Josh Quillen, Adam Sliwinski and Jason Treuting) formed about a decade ago around the collective influence of pioneering NeoClassical experimentalists like Reich, John Cage, Kronos Quartet and others. Sō has commissioned works from numerous composers and has also been acclaimed for its own compositions. Outside of the modern Classical world, the ensemble has collaborated with artists like Medeski, Martin and Wood, Matmos and Dan Deacon.
Here's a cool mini-documentary from PitchforkTV about Reich and featuring Sō Percussion.
The three days of music are held at Memorial Hall, next to Music Hall, but this year there will also be an art exhibition at another great, vintage Over-the-Rhine venue, The Emery Theatre. An exhibit of works by Nathlie Provosty and Jessie Henson will be up at the Theatre Friday, 4-7 p.m., Saturday, 12-4 p.m. and Sunday, 1-7 p.m. Bryce Dessner will perform at a "gallery party" on Sunday 4-6 p.m. The Emery happenings are free and open to the public.
The inaugural Bunbury Music Festival — three days of top-shelf Alternative music at Cincinnati's riverfront Sawyer Point Park — is just four days away. All this week, CityBeat's music blog will be featuring samples from some of our "sleeper picks" for the fest, artists who some may not be as familiar with as they are Weezer or Death Cab for Cutie or Jane's Addiction.
Our next "sleeper" is Imagine Dragons, performing Saturday at 5:15 p.m. on the Bud Light Stage.
Founded in Las Vegas four years ago by primary songwriter Dan Reynolds, Imagine Dragons went through a variety of permutations before settling on the current line-up (guitarist Wayne Sermon, bassist Ben McKee, drummer Daniel Platzman). Since 2009, Imagine Dragons has turned out a quartet of impressive EPs, including the just-released Continued Silence, featuring the YouTube sensation “It’s Time,” all of which is a preview for the fall release of the band’s debut full-length, Night Visions. A quick spin through Continued Silence — the band’s first work for Interscope since signing last year and, like the new album, produced by renowned British Hop Hop boardsman Alex Da Kid — is like panning in a creek bedded with gold nuggets; glints of Coldplay, Everclear, Train and any number of other chart-topping Pop icons, but with a discernibly beat-driven Indie edge. As epic as Homerian poetry set to a U2 soundtrack and as intimate as a candlelight dinner in the Nevada desert.
The Northside Rock ‘n’ Roll Carnival and 4th of July Parade and Festival may be saddled with one of the most cumbersome titles imaginable. (Try to abbreviate it and even then it sounds like some kind of nonsensical engineering code: NRRC4JPF--holy shit!) But that’s simply because there’s so much going on that a simpler name wouldn’t capture the full scope of what’s in store.
As Thursday began, we heard the tragic news of two people from the Tristate who were killed in an automobile accident on their way to the festival. (Five others were injured in the same crash.)
All told, Bonnaroo attendees and staff number close to 90,000 souls during peak hours. For this long weekend in June Manchester becomes the seventh largest city in Tennessee, with births and deaths on-site like one would expect in a small city over the course of any 96-hour span.
On a brighter note, this year's festival kicked off with a young couple tying the knot under the multi colored arch at Bonnaroo entrance.
In the late afternoon I wandered through Centeroo, perusing the various vendors' booths. Corporate sponsors abound, but non-profits and independent artisans dominate the Bonnaroo bazaar.
In the shadow of a Ferris wheel and psychedelic light tower a giant throng gathered in and around the area surrounding the Other Tent to greet Cincinnati's pure Pop pride and joy Walk The Moon.
Technical glitches delayed the start of their set but they had the crowd bouncing, clapping, singing along and eating out of their hands from the minute they took the stage.
WTM singer Nicholas Petricca shouted, "We're called Walk The Moon! We're from Ohio!" and the crowd roared as the band launched into their single "Tightrope." This writer has never seen a larger crowd assembled for a performance in the Other Tent and Petricca's buoyant charm and boundless energy kept the crowd pumped and jumping throughout the bands' entire performance.
Later in That Tent, Father John Misty brought the weird and the beard via his sardonic Folk Rock parables. I half-expected the depth and humor of FJM's material to sail over the heads of most Bonnaroovians but I was pleasantly surprised to hear many people singing along. A huge fan of his new Fear Fun album, I think I would have driven all the way to Tennessee just to hear Misty sing "Only Son Of The Ladiesman". He didn't make me wait long, playing it in the No. 2 slot.
(Walk the Moon hotos by Chuck Madden)
Ahhhh, MidPoint! I look forward to it every year. September, for this lady, holds promise, romance, intrigue and MPMF. I started my MPMF.13 off right: grabbed a baller parking spot right after work in front of Coffee Emporium, grabbed a baller iced Americano and grabbed my (you thought I was going to say baller? How presumptuous) press pass. I think I did say out loud to myself: Let's GOOOO.
The first band I wanted to see was my pal Molly Sullivan at 8:15 p.m. at Japp's Annex. I had some time to kill, so I hung out on the Midway. Sidewalk Chalk was still grooving; they've got a rocking brass section, shimmery drums and soulful singers. I previously saw them on Fountain Square last year as part of the Indie Summer Series, and really enjoyed everything they had to offer. Great fun way to kick off MPMF.
I wandered around the Midway for a bit, checking out the numerous box trucks that comprise the Box Truck Carnival presented by ArtWorks. The Midway itself is pretty awesome, easily accessible and kind of reminds me of a corral for progressively more intoxicated adults. I don't mean that in a derogatory way; I, too, enjoy consuming beer freely in the open on 12th Street. The Box Trucks this year held a lot of potential — I wrote about the Midway for the MPMF Guide in CityBeat a few weeks back, so I was well-briefed on what to expect. Well, kind of.
The first truck I checked out was the Glam Rock Box Truck. Anyone who knows me is aware of the siren call the word "karaoke" holds, so of course I went in.The premise was great (for karaoke nerds like me), but box trucks just don't do karaoke justice, honestly. There are a number of songs to pick from, but not as many karaoke staples as one might expect. And for being called the Glam Rock truck, I didn't really see any Glam Rock hits on the list. The ladies running the truck seemed to be having a good time, though, so I did my best version of "Semi-Charmed Life" and went off to continue leading mine.
I wandered around the Midway some more, stopping in the Short Order Poetry Box Truck, which was 19 kinds of adorable. You step inside the truck, get paired with a stranger who asks you random questions (hi Adam!) and then they'll create a poem, on a typewriter no less, just for you, ready in just about 10 minutes. Mine had a lot of death and blood and dream imagery, just how I like 'em.
I listened to a few minutes of stand-up in the comedy Box Truck before heading to Lucy Blue's. I notoriously put off eating until I'm ravenous, so I decided to carb-up on pizza in preparation for the long night ahead. I met up with friends at Japp's and we ordered drinks and chatted before wandering to the Annex to hear Molly Sullivan.
Every time I see Molly perform, I'm more and more impressed. She's really fleshed her sound out (the addition of friends on the drums and bass is the perfect complement to her singer/guitarist combo), and lots of people are noticing — she recently won the Last Soloist Standing contest at FBs, grand prize being a large cash sum. Molly's a charming vocalist; her voice is flexible and searching, and she's always been good at melancholy intonation. I heard a fresh version of "So It Goes" from the No No Knots days, and some of her newer material had an almost Jewel-when-she-still-had-a-snaggle-tooth quality to it. I really, really dug it. So did a number of other people — quite a dedicated following was there. I'd say Molly Sullivan's first solo show at MPMF was a great success.
I had been planning all week to see Kurt Vile at Grammer's, but there was about half an hour before he was supposed to go on and I ran into my pal Caitlin, who told me the mythical history of Shuggie Otis. I was intrigued, so I walked with her to Washington Park. I still don't know how I feel about the fact that they've moved the stage to the permanent pavilion instead of in front of Music Hall; there's such a grandiosity to playing in front of that gorgeous building that just isn't matched by the pavilion — and I know there are lots of sad Instagram accounts crying right now — but I understand the convenience. We'll see how I feel about it tonight.
Anyway. Shuggie Otis. Skyrocketed to fame by age 21 and receded into the abyss of obscurity? And then he joins David Byrne's label and comes back? Tell me more. Shuggie had a groovy Soul/Funk sound brought to life by a huge backing band, complete with a stellar saxophonist. Glad I caught a few minutes, but I was on a Kurt Vile MISSION, so I started the trek to Liberty Street and Grammer's.
Well, by way of my car. I grabbed a jacket and was headed north, but as I walked by Below Zero Lounge, I heard a voice too great not to stop. If Ryan Adams and Adam Levine and the bearded lead singer from Maps & Atlases had an Asian baby, it would be St. Lenox. He was just plain awesome. I wanted to hang out with him, I wanted him to sing an album of lullabies, I wanted to stay for his whole set, but I'll be damned if I wasn't going to see Kurt Vile.
I didn't see Kurt Vile. Whoever guessed that two paragraphs ago knows that my ominous overtone was poorly done. I got stopped again walking by MOTR, this time by Fort Shame from Columbus, Ohio. I feel like so many times when a woman is a lead singer of a rock outfit, the instinct is to compare her to another female vocalist, but it has to be one who's personality is somehow perceived as similar, or stylistically akin (and I do mean clothes, not just shredding), so I'm not going to compare Fort Shame's Sue Harshe to anyone, because I don't think that's fair and, honestly, it's a little reductive. I'm just going to say that she does credit to anyone singing Rock. And the band had a star saxophonist, which was super fun.
I did hear via Twitter that Kurt Vile sang the word "yeah" for like fifteen minutes at the beginning of his set, so I said it a bunch to myself as I walked back to the Midway to hear Ha Ha Tonka and didn't feel too bad about it.
The first time I saw Ha Ha Tonka was two (or three? who knows) Midpoints ago at The Drinkery. These guys have all gotten hair cuts since then, but they sound even better. They sound like what folky Rock cut with a raucous night of varying emotions that ends with hanging out with friends and beer staring at the river would sound like. You know the kind of night I'm talking about. They're just the tops. Tight and talented musicality and great stage presence is only topped by their impeccable four-part harmony. Just magnetic. Second or third time's the charm, gentlemen.
I finished my night seeing Bleached at the Know Theatre, which last year held all the buzz bands I wished I'd been able to get inside and see (something about being "at capacity"), and I wasn't disappointed. Punk Rock girls with a guy drummer. Ramones cover. Misfits cover. I thoroughly enjoyed my attempt at head-banging AND the fact that these girls didn't try too hard. I feel like a lot of Punk-esque bands nowadays are all like "I AM PUNK! LOOK, SEE, I AM!" but Bleached was more like, "Fuck Punk. We're just Bleached." Own it, dudes.
And then I walked back to my car and went home and passed right the heck out. I'll see ya at MPMF for round two tonight.
Last night was a glorious night for music and glorious music was made. Combinations don't get much better than that. Things didn't start so well, though; a quick e-mail on Wednesday revealed that, for a variety of reasons, my friend Matthew Fenton wouldn't be making his annual pilgrimage from Chicago to our fair festival. And then the drive down I-75 was infuriatingly stop-and-go for no apparent reason, which had me grinding my teeth all the way downtown.
Every molecule of that dour energy was dissipated with the first show of the night as Cody ChesnuTT hit the Washington Park stage like a hydrogen bomb of positive vibration.
ChesnuTT's MidPoint appearance was also his Cincinnati debut and the sizable crowd that showed up to witness it was completely enthralled with his potent blend of Neo Soul, Reggae, Jazz and Pop.
ChesnuTT doesn't dress the part of Soul crooner; graphic T-shirt covered in cassettes, red cardigan, black sweats and an army helmet. The helmet is an odd sartorial choice, but ChesnuTT has explained that he's "fighting to keep the soul alive." Not the musical genre, but the spiritual essence at the center of all human beings. That's a pretty big mission for a singer/songwriter to assign himself, but last night's performance proved that ChesnuTT is more than up to the task.
Drawing strictly from last year's gorgeous Landing on a Hundred (he no longer does any songs from 2002's The Headphone Masterpiece, feeling that he's moved beyond the events in his life that inspired that album), ChesnuTT blew any trace of negativity into the stratosphere and replaced it with a rock-solid groove (courtesy of his absolutely stellar band) and a message of pure love. Not Barry White let's-ease-them-panties-down love, but love of self, love of mankind, love of life, which should ultimately lead to unconditional love for one other person.
Not that ChesnuTT doesn't recognize the world's dysfunction. In his brilliant "Everybody's Brother," he sings, "I used to smoke crack back in the day/I used to gamble rent money and lose/I used to dog nice ladies, used to swindle friends/But now I'm teaching kids in Sunday school and I'm not turning back." On the album, the song thumps along on a hearty Funk beat, but on stage, ChesnuTT delivers that opening verse with a sermon-like intonation, and the band swells around him with Gospel fervor and Soul intensity.
No matter what vibe ChesnuTT is channeling at any particular point in the show, he is a master showman, imploring the audience to join him, engaging them to become an integral part of the proceedings. And when he sings, when he digs deep into his creative core and unleashes his soul though his vocal cords, sweet mother of all that's holy, he sounds like the reincarnation of Marvin Gaye, the little brother that Stevie Wonder didn't know he had and the lost Marley sibling all rolled into one otherworldly package. Anyone who was not smiling at the end of Cody ChesnuTT's performance last night is damaged beyond the help of therapy and psychoactive drugs. Please come back to see us again soon, Cody. If Foxygen's slot is still open, Saturday night would be just fine. (Editor’s note: Cincy’s fantastic Wussy has claimed Foxygen’s Washington Park slot tomorrow.)
After Cody ChesnuTT's splendorous opening, it was Blues/Rock legend Shuggie Otis' turn to lead the Washington Park congregation, which he did in scorching style. Otis was barely in his teens when he started playing guitar with his father, R&B icon Johnny Otis, ultimately leading to session work with Al Kooper and Frank Zappa when he was just 16, and his 1970 debut solo album, Here Comes Shuggie Otis, at 17. And while Shuggie has laid low for long stretches in his nearly 50-year career, his current resurgence is sweet vindication for those periods when an indifferent music industry ignored his virtuosic brilliance, forcing Shuggie to turn away from the industry.
Shuggie's set started a little hesitantly as he acclimated to the stage set-up; at one point, he jokingly asked, "Can somebody show me how to work this shit?" Somebody did and he was off, peeling off incendiary riffs and razor sharp runs with a casual intensity. The set's sole slow spot was a new song called "Special," that sounded like Shuggie copying the numerous Pop artists who have copied him, but he followed it with a blazing version of "Me and My Woman" that erupted from the stage like a volcano and oozed through the assembled multitude with the heat and inevitability of the resultant lava flow. Once he and his stellar band got going, Shuggie Otis provided a transcendent moment in MidPoint history, the redemptive return of an astonishing talent that should never have gone away in the first place.
Only one thing could have dragged me away from the hair-raising, slack-jawed wonder of Shuggie Otis, and that's the triumphant return of Cincinnati’s Mad Anthony. Since the July van accident that could have been the band's literal epitaph, drummer Marc Sherlock was restrained by a neck brace and an order against all relatively physical activity. Outside of a little rhythmic tapping to keep his chops up, Sherlock was virtually drumless for three months, while guitarists Ringo Jones and Adam Flaig hit the road for some acoustic dates to keep the rent money coming, then set off for its first cross-country tour, which culminated with last night’s homecoming.
And so Mad Anthony took the triangular stage at The Drinkery, their first show with their full current lineup since the accident that nearly cost them everything. Jones and Flaig brought plenty of their patented frenzy to their acoustic gigs, but they've clearly missed their hypertalented timekeeper, which was evident from the visceral fury that permeated every note of last night's show. Sherlock couldn't have looked any happier; with every roll, every cymbal crash, every massive kick, his smile was a permanent fixture, and Jones and Flaig responded with a tumultuous joy that was a palpable presence in the room.
At a normal Mad Anthony show, the trio storms into an audience's frontal lobe with incomprehensible power. If The Stooges ate Black Sabbath and shit out three perfectly formed babies the next day that grew up and absorbed Punk, Pop and Rock influences like a bar towel, then wrung out those influences into shot glasses and downed them one liquor/beer/sweat/adrenaline slug, that would be Mad Anthony. Last night's return to The Drinkery was all that amplified to the third power. Naturally, they finished with "We Love This Fucking City." Naturally, this fucking city loves Mad Anthony. It's worked out so far.
After the major nut-kick of Mad Anthony, I tooled down to Arnold's to catch some Beatlesque sweetness courtesy of Canada’s The Shilohs. They were really quite good, and I definitely wanted to hear more of them, but they seemed intent on a mid-tempo set in the key of "If I Fell," and I wasn't quite in the mood for that. So I headed back to The Drinkery to catch locals Frontier Folk Nebraska's set.
After Mad Anthony's blistering presentation, I chatted up Kelly Thomas for a few minutes outside The Drinkery, and she had noted that Frontier Folk Nebraska was veering in a decidedly more electric direction, rather a shift from their traditional acoustic roots. When The Shilos didn't pan out for me, I decided to witness FFN's electric evolution for myself. Good decision.
The new FFN is plugged in and ready to whip any ass in the house. Imagine a world where The Ass Ponys channel Crazy Horse and the Bottle Rockets and Uncle Tupelo and you'll be close to the barely restrained muscle emanating from the new Frontier Folk Nebraska. All of this was evident on the band's eponymous 2011 album, but it's magnified to an incredible scale in the live setting. FFN recently lost founding bassist Steve Oder to a graduate program, which could have seriously altered the band's chemistry, but new bassist Matthew McCormick seems to have settled in nicely, alternating between a pulsing beat and runs that emulate lead solos, forming a slinky rhythm section with drummer Nathan Wagner. Meanwhile, frontman Michael Hensley and Travis Talbert create a tandem guitar attack that perfectly balances nuance and power. I liked where FFN was and I love where they are.
After FFN, I found my car and took a drive down to the Mainstay to catch London's blazing Rock power trio Leogun. Vocalist/guitarist Tommy Smith is a revelation, a genetic hybrid of Robert Plant and Jimmy Page in one electrified body, wringing sounds from his guitar that invoke all the greatest '70s translators of the Blues while maintaining a firm stance in the 21st century. Anchored by the thunderous rhythm section of bassist Matt Johnson and drummer Mike Lloyd, as slippery and as solid as Entwistle and Moon, Leogun swaggers and swings with retro inspiration and contemporary energy. They peeled through a set filled with tracks from their phenomenal debut, By the Reins, but one of the highlights was their completely unexpected and timber-rattling take on Kool and the Gang's "Jungle Boogie." Not sure when they'll be back, but I'll be there when they return.
• Music editor Mike Breen informed me that publisher Dan Bockrath was going to be making with the beers this year, but I had no idea he would begin his hop blitzkrieg so quickly and voluminously. Dan found me in the crowd at the start of Cody ChesnuTT's set and put a beer in my hand immediately. And just as I finished that first one, Dan reappeared at my side with yet another, claiming, "I feel so good I had to double down." After this MidPoint, I may be able to build a new wing onto the Beer Buying Hall of Fame with Dan's empties alone. You are a god that walks among men, Dan Bockrath, and I hope to see you every night this weekend.
• During Cody's lovely and moving "Love is More Than a Wedding Day," he announced that it might be a good time to dance with the one you love. I looked at Dan, Dan looked at me, but we dismissed the idea. It is a testament to Cody's soulful presentation that I actually considered it, though.
• Years ago, my good buddy Troy paid me the ultimate compliment when he spotted me at a show. He clapped me on the shoulder and said, "I know I'm at the right show when you're at it." The very same could be said for the ubiquitous King Slice. His appearance at a show is like the Good Housekeeping Seal of Approval. Follow him and see where he goes next. That's where the party will likely be the best.
• Also ran into Magnolia Mountain's Mark Utley, who's in the teeth of planning the next Music for the Mountains benefit show. The second MFTM disc is chock full of traditional goodness and the album and the concert will raise funds to help eliminate the mining practice of mountaintop removal. As Mark noted, "Nature gives women the ability to forget about the pain of childbirth so they'll ready to do it again. That's how it was for me with this concert." The pain is always worth it, man (says the guy who's not feeling the pain) … good luck and God speed.
• And on my way out of Shuggie Otis, I chanced upon Jim Blase, co-owner of Shake It Records and quite simply one of the finest human beings I've had the pleasure to and good fortune to know.
• Lots of folks turned out for Mad Anthony's return, including Kelly Thomas, who was an architect of two benefit shows to help the boys get back on their feet (and who is actually collaborating with the band on some new songs, which should be awesome). Also in attendance was former MA bassist Dave Markey, and his ebullient mom, who may have been the biggest fan in the room; I'm pretty sure she knew the words to every song. It was a beautiful thing.
• Jim Blase was also hanging out at the Frontier Folk Nebraska show, obviously showing support for Travis, who still puts in some time behind the Shake It counter. I was about to head over to say hello again but ran into old friend Danny Rupe, who I never get to see anymore except at random and all to infrequent MidPoint shows. He put my digits and e-mail add into his Jetsons phone, so maybe I'll hear from him with a little more timeliness now.
• Slice, The Black Owls' Brandon Losacker, Dave Markey and Ringo Jones were all hanging at the Leogun extravaganza. I was looking for my Class X compatriot Eddy Mullet, who had designs on the show, but I didn't see him so his plans must have changed. God, I hope it wasn't a kidney stone; that's what derailed his Bunbury experience. After the show, I had a quick chat with Tommy and Matt from the band as they were packing up to go, and then Ringo and I closed the Mainstay, as he regaled me with tales of Mad Anthony, and promises that their new material is the best they've ever done. I know they'll prove it when the time comes.